Sigiswald Kuijken’s continuing series of J.S. Bach’s cantatas
on the Accent label has provided some interesting listening of
late. While I was initially impressed by what I heard of this
set, there was subsequently little doubt in my mind that, for
the long-term desert island encampment, the BIS
series offered just that bit more sap per sacred song. Now
I am in the fascinating position of being able to compare his
work in a core piece by Bach with the results obtained by Masaaki
Suzuki.
As with the cantata
disc I reviewed, Gerlinde Sämann and Petra Noskaiová are part
of the cast for this SACD recording of the Mass in B minor.
The other singers have no less importance with this recording,
with Kuijken’s adherence to the single voice per part in the
‘choir’ setting as proposed by Joshua Rifkin. This contrasts
with the chamber choir format of the Collegium Japan which consists
of 18 singers but also employs the soloists as choral members.
The difference in texture is marked, even with only three or
four voices per part, and even with the over-emphasis on the
opening ‘K’ in the Kyrie with Suzuki, it is clear from
the outset that the Collegium Japan performance is one which
has no fear of slower pacing and a grander viewpoint in the
more large scale movements. Another difference in texture is
the continuo, which is based around an organ for La Petite Bande.
This is mixed up with the inclusion of the snap and crispness
of a harpsichord for some movements with Collegium Japan. Kuijken’s
organ tone is nice and gentle, but has some ‘chuffing’ at the
beginning of notes which you may or may not like. There is also
a remarkable moment at the beginning of the Qui tollis peccata
mundi where four or five mechanical ‘tok’ sounds emanate
in the left channel from what can only be the mechanics of this
instrument – a minor and excusable flaw on an otherwise sublimely
beautiful representation of this movement. The accompaniment
in the Domine Deus of the Gloria almost amounts
to a pizzicato from the organ, with nice separation and bounce.
The same can’t be said for the sound in Suzuki’s organ, which
has a woolly warmth, reducing the impact of its rhythmic contribution
to background status.
Both of these recordings
are very nice indeed, and I don’t really want to be dotting
around pointing out differences which are ultimately a matter
of taste. The quality of the soloists is an essential aspect
which I will come to in a moment. There are however also plenty
of crucial moments which indicate the difference in character
between these performances. The opening of the Gloria is
one of those magnificent Bach moments, busy strings, soaring
brass and healthy thwacks from the timpani. Suzuki’s version
swings marvellously in the opening, the choir balancing well
with the hefty accompaniment. His change of mood between the
opening and the subsequent Et in terra pax is also taken
with magical skill, the atmosphere being drawn down into more
gentle undulations on the turn of a sixpence, but with so much
smoothness that the surprise is all the greater. Kuijken goes
for bigger sounding drums which are more thuddy and less alert
sounding, though impressively deep. The problem with single
singers is fairly well defined in this section. Even with the
brass somewhat less prominent in the balance, the voices drop
in the general mix, making the text harder to follow. The result
is quite exciting, but there is no escaping the struggle the
voices have against the massed forces of the band. The change
in atmosphere from this to the Et in terra pax is less
marked, with Kuijken’s pacing swifter, more jolly and less peaceful.
I grant the flexibility single voices give in the more technically
demanding sections of this movement, but Suzuki’s more restrained
approach solves pretty much all of these problems. This in turn
results in lower tension, but allows the resonances of the instruments
and singing more time to develop and the ear more space to follow
and appreciate the lines.
These are both state
of the art recordings and represent the latest thinking in the
interpretation of this music. In a sense however, there are
two different aspects of both of these recordings which reminded
me of some of the more old-fashioned styles of performing practice
in this music. Suzuki’s slower pacing and richer palette in
some of the movements could, cut and pasted onto modern instruments,
easily pass muster in the Royal Albert Hall in 1969. His soloists,
expressive and natural sounding, do portray the mass texts with
great refinement and clarity. Suzuki doesn’t insist on minimum
vibrato, but has clearly chosen soloists such as Carolyn Sampson
and Robin Blaze for their well matched tone colour and natural
sense of expression. Where I find Kuijken’s overall picture
occasionally retro sounding is in the soloists. This is not
all the time; and not levelled at individuals in order to carp,
rather an observation of which listeners can take note and decide
for themselves. Soprano II, Patrizia Hardt, can come across
a bit more operatic than ecclesiastical, something you may find
in something like the Laudamus te, where the moments
where she restricts her vibrato can sometimes sound as if this
goes against her nature. Marcus Niedermayr’s bass is pleasantly
light and carries a universally swift vibrato which is fine,
but goes against the character of the ensemble in places where
the other singers are restraining theirs. His solo character
in the Quoniam to solis sanctus is a bit over-sibilant
and isn’t really a highlight of the recording. Peter Kooij is
more authoritative sounding on the BIS recording in this movement,
but is upstaged by the horn soloist. Petra Noskaiová has a deep,
sometimes rather plummy alto, but is nicely expressive in the
Qui sedes ad dexteram Patris. Comparing her against Robin
Blaze is to compare chalk and cheese, but while there are those
who still find high male voices hard to get used to he does
get closer to what we might imagine as an ‘authentic’ Bach sound.
Honours are about equal in the tenor solo Benedictus,
there being little to chose between Bernhard Hunziker’s silvery
tone against Gerd Türk’s more earnest intensity of sound.
Kuijken shines in
the swinging rhythms of swift movements like the Credo in
unum Deum which opens disc 2. This has a drive and urgency
which is a joy to hear, and the solo choir has a good synergy
with the instrumental ensemble here. Going straight to Suzuki
for the same moment, and the surprise is that he is even faster,
not only believing in one God, but in a big hurry to go and
see him for the next racing tips. Vocal matching once again
plays an important role in the soprano/alto duet of Et in
unum Dominum Jesum Christum and while the Sampson/Blaze
combination is an early-music winner Sämann and Noskaiová are
very good too, only being inclined to leap out a little in rising
passages. There are plenty of moments in the B minor Mass
which you want to take you beyond this world and onto a
higher plane. In the Et incarnatus est I have this more
with Suzuki than with Kuijken, the slower pace, greater weight
of the strings and the more ethereal sound of the choir creating
the kind of atmosphere which is beyond price. And then, Kuijken
is more moving in the Crucificus which follows, where
Suzuki pushes on with a faster pace, ironing out the sighing
effect of the descending lines. As you might expect, the final
Dona nobis pacem expands wonderfully in Suzuki’s performance,
and Kuijken comes in at a brisk but life-affirming 2:13 to the
former’s grandly staged 3:38.
Enough picking over
details. I had been hoping to be able to take a ‘like with like’
comparison of these two recordings and come down clearly on
one side or another, but instead I’m once again in that wretched
Libran trap of liking both almost equally, and for almost entirely
different reasons. Kuijken creates magical effects with his
soloists and La Petite Bande, and the big acoustic of San
Lorenzo de El Escorial is perfect for his players. There is
a big reverb, but this doesn’t disguise the detail in the playing
and has an impressive effect only at the ends of movements.
There are incidentally a number of fascinating, upward gazing
photos of this location in the booklet by Hans Morren, who contributes
a short comment on ‘Painting with Light.’ The Collegium Japan
is very much at home in their usual location of the Kobe Shoin
Women’s University, which also has a fine acoustic. In almost
too simplistic general terms, if you are looking for Bach which
has its contrasts in the differences between full choral sound
and soloist ensembles, allied to an approach which broadens
tempi at moments of the greatest sonic and expressive splendor,
then your inclination will be more towards Suzuki on BIS. If
you agree with Kuijken’s more compact single voice to a part
approach which has its strengths in terms of vocal intensity
in some of the more crucial choral movements, then you will
be more inclined towards this Challenge Classics box. Kuijken
admits to certain pros and cons with the decision to go with
single voices, and is not dogmatic in the rights and wrongs
of either solution. He does however point out the insights and
artistic satisfaction he has gained from making the shift away
from full choirs, and with the results on this recording one
can only respect and admire the way in which Bach’s Mass
in B minor still stands as one of the greatest of baroque
masterpieces with such a minimum of means. This is not the first
time he has recorded this work, though while there is an earlier
live recording on the Urtext label which shares a few of the
same soloists as on this new SACD version I hear that this is
only a single disc with just a few highlights. There are of
course dozens of other recordings, and as the years go by first
choices change. Andrew Parrott on the Virgin label held sway
in 2000, and Sir John Eliot Gardiner on Archiv was one of the
top recommendations a couple of years ago. New recordings and
different interpretational approaches don’t render the earlier
recordings invalid, but very much keep this magnificent music
alive – something for which we can all be grateful.
Whatever
your opinions on Rifkin theory, there is nothing hair-shirt about
this recording from Sigiswald Kuijken, and despite my picky comments
about some of the vocal details I can recommend it thoroughly.
Would it be my desert island choice? I’m still not entirely sure,
though the arguments only really arise when doing those infuriating
A/B comparisons on which we reviewers seem to be so keen. Playing
this as a ‘stand alone’ recording I had no difficulty in being
swept along with Bach’s creation. Intriguingly, the solo voice
effect is also swept along with the instrumentation, so that the
ear can often accept the voices as ‘choral’ when the instrumental
support also expands. Is this what Bach would have heard? The
SACD sound of the whole thing is magnificent, and most certainly
the equal of any other version I know. If you already possess
and love a ‘conventional’ version of this work but would like
to expand your horizons with a single voice version then this
is the place to be. If you just love Bach and can’t get enough,
then this is also a very good place to be. With wonderful sounds
surrounding me as I write from my desert island, all I can do
is send you a postcard which says, ‘wish you were here…’.
Dominy Clements